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HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 She Went on to Become a Nationally Recognised Figure in the British Cinema of the 1950S and 60S
Hattie Jacaues Born 127 High St 1922 Chapter Twelve HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 she went on to become a nationally recognised figure in the British cinema of the 1950s and 60s. Her father, Robin Jacques was in the army and stationed at Shorncliffe Camp at the time of her birth. The Register of Electors shows the Jacques family residing at a house called Channel View in Sunnyside Road. (The register shows the name spelled as JAQUES, without the C. Whether Hattie changed the spelling or whether it was an error on the part of those who printed the register I don’t know) Hattie, as she was known, made her entrance into the world in the pleasant seaside village of Sandgate, mid way between Folkestone to the east and Hythe to the west. Initially Hattie trained as a hairdresser but as with many people of her generation the war caused her life to take a different course. Mandatory work saw Hattie first undertaking nursing duties and then working in North London as a welder Even in her twenties she was of a generous size and maybe as defence she honed her sense of humour after finding she had a talent for making people laugh. She first became involved in show business through her brother who had a job as the lift operator at the premises of the Little Theatre located then on the top floor of 43 Kings Street in Covent Garden. At end of the war the Little Theatre found itself in new premises under the railway arches below Charing Cross Station. -
The Evolution of Sherlock Holmes: Adapting Character Across Time
The Evolution of Sherlock Holmes: Adapting Character Across Time and Text Ashley D. Polasek Thesis submitted in fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY awarded by De Montfort University December 2014 Faculty of Art, Design, and Humanities De Montfort University Table of Contents Abstract ........................................................................................................................... iv Acknowledgements .......................................................................................................... v INTRODUCTION ........................................................................................................... 1 Theorising Character and Modern Mythology ............................................................ 1 ‘The Scarlet Thread’: Unraveling a Tangled Character ...........................................................1 ‘You Know My Methods’: Focus and Justification ..................................................................24 ‘Good Old Index’: A Review of Relevant Scholarship .............................................................29 ‘Such Individuals Exist Outside of Stories’: Constructing Modern Mythology .......................45 CHAPTER ONE: MECHANISMS OF EVOLUTION ............................................. 62 Performing Inheritance, Environment, and Mutation .............................................. 62 Introduction..............................................................................................................................62 -
The Nation's Matron: Hattie Jacques and British Post-War Popular Culture
The Nation’s Matron: Hattie Jacques and British post-war popular culture Estella Tincknell Abstract: Hattie Jacques was a key figure in British post-war popular cinema and culture, condensing a range of contradictions around power, desire, femininity and class through her performances as a comedienne, primarily in the Carry On series of films between 1958 and 1973. Her recurrent casting as ‘Matron’ in five of the hospital-set films in the series has fixed Jacques within the British popular imagination as an archetypal figure. The contested discourses around nursing and the centrality of the NHS to British post-war politics, culture and identity, are explored here in relation to Jacques’s complex star meanings as a ‘fat woman’, ‘spinster’ and authority figure within British popular comedy broadly and the Carry On films specifically. The article argues that Jacques’s star meanings have contributed to nostalgia for a supposedly more equitable society symbolised by socialised medicine and the feminine authority of the matron. Keywords: Hattie Jacques; Matron; Carry On films; ITMA; Hancock’s Half Hour; Sykes; star persona; post-war British cinema; British popular culture; transgression; carnivalesque; comedy; femininity; nursing; class; spinster. 1 Hattie Jacques (1922 – 1980) was a gifted comedienne and actor who is now largely remembered for her roles as an overweight, strict and often lovelorn ‘battle-axe’ in the British Carry On series of low- budget comedy films between 1958 and 1973. A key figure in British post-war popular cinema and culture, Hattie Jacques’s star meanings are condensed around the contradictions she articulated between power, desire, femininity and class. -
On Stage, Stagecoach Group, Stagecoach South West Mark Whittle 01392 889747 Operating Companies
Going topless Reaching a in New new level York of control The newspaper of Stagecoach Group Issue 54 Spring 2004 Stagecoach joins Danes in bid for rail franchise tagecoach Group has linked up with Danish State SRailways (DSB) to bid for a major UK rail franchise. Carry on The Group has taken a 29.9% majority of passenger rail services in stake in South Eastern Railways Ltd, a Denmark and has further franchise company set up by DSB, to bid for operations in other Scandinavian the new Integrated Kent franchise in countries. logging on south-east England. It is an independent Public Three other companies – GNER, Corporation, owned by the Danish Carry on megabus.com! First Group and a consortium of Go- Government, and is managed by a That was the message Ahead and Keolis, of France – have Board of Directors and an Executive from bubbly actress been shortlisted for the seven to 10- Committee, who are responsible for Barbara Windsor when year franchise. the day-to-day business. she helped launch Integrated Kent, which will be let Executive Vice President and CFO Britain’s first low-cost from early 2005, of DSB, Søren internet bus service. will include routes Eriksen said: And, with tickets on the national rail ‘Both Stagecoach “Stagecoach has available from just £1 network throug- extensive through megabus.com, the hout Kent, parts of and DSB share a experience with initiative is catching the Sussex and South- train operations in public’s imagination for East London. It will commitment to the UK and DSB is catching a bus. -
Gb 1456 Thomas
GERALD THOMAS COLLECTION GERALD THOMAS COLLECTION SCOPE AND CONTENT Documents relating to the career of director GERALD THOMAS (Born Hull 10/12/1920, died Beaconsfield 9/11/1993). When Gerald Thomas died, his producer partner of 40 years Peter Rogers said: ‘His epitaph will be that he directed all the Carry On films.’ Indeed, for an intense 20-year period Thomas directed the Carry On gang through their innuendo laden exploits, and became responsible, along with Rogers, for creating one of the most enduring and endearing British film series, earning him his place in British popular culture. Thomas originally studied to become a doctor, before war service with the Royal Sussex Regiment put paid to his medical career. When demobilised in 1946, he took a job as assistant in the cutting rooms of Two Cities Films at Denham Studios, where he took Assistant Editor credits on Laurence Olivier’s Hamlet (1948) and the John Mills thriller The October Man (1947). In 1949, he received his first full credit as editor, on the Margaret Lockwood melodrama Madness of the Heart (1949). During this time Peter Rogers had been working as associate producer with his wife, producer Betty Box, on such films as It’s Not Cricket (1949) and Don’t Ever Leave Me (1949). It was Venetian Bird in 1952 that first brought Thomas and Rogers together; Thomas employed as editor by director brother Ralph, and Rogers part of the producer team with Betty Box. Rogers was keen to form a director/producer pairing (following the successful example of Box and Ralph Thomas), and so gave Gerald his first directing credit on the Circus Friends (1956), a Children’s Film Foundation production. -
SIMON J AGUIRRE - 1St Assistant Director
SIMON J AGUIRRE - 1st Assistant Director ATLANTIS Director: Justin Molotnikov. Producers: Johnny Capps and Julian Murphy. Little Monster Films. THE VILLAGE Directors: Antonia Bird and Gillies MacKinnon. Producer: Emma Burge. Starring: John Simm and Maxine Peake. Company Pictures. MERLIN (Series 5) Directors: Justin Molotnikov, Ashley Way and Alice Troughton. Producers: Julian Murphy and Johnny Capps. Starring: Colin Morgan, John Hurt, Bradley James, Angel Coulby, Katie McGrath and Richard Wilson. Shine TV/BBC. HEROES OF THE SKIES (Drama/Documentary) Director: Nigel Levy. Producer: Jeremy Llewelyn-Jones. Starring: Mark Buck, Kyle Riley and Adam Drew. Blink Entertainment. FAST GIRLS (Pick-ups) Director: Regan Hall. Producer: Damien Jones. Starring: Bradley James, Noel Clarke, Lenora Crichlow, Lily James and Lorraine Burroughs. Fast Girls Productions. WATERLOO ROAD Director: Daikin Marsh. Producer: Tim Key. Starring: Alec Newman, Mark Benton, Alex Walkinshaw and Jaye Jacobs. BBC/Shed Productions. MAN OF TAI CHI (Test Shoot) Director: Keanu Reeves. Producers: Keanu Reeves and Sheerin Khosrowshai-Miandoab. Starring: Tiger Hu Chen, Vincent Wang, Roger Yuen and Richard Woo. Village Roadshow Pictures/China Film Group. 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] I SHOULDN’T BE ALIVE (Drama/Documentary) Directors: Simon George and Neil Rawles. Producer: Steve Murphy. Darlow Smithson Productions. (Shot in Chile and Canada). M.I HIGH Director: Richard Elson. Producer: Emma Kingsman-Lloyd. Starring: Rachel Petladwala, Ben Kerfoot, Charlene Osuagwa and Jonny Freeman. Kudos Film and Television. THE FLYING MACHINE (Feature) Director: Martin Clapp and Geoff Lindsey. Producer: Hugh Welchman. Starring: Heather Graham, Lang Lang, Kizzy Mee and Jamie Munns. -
SERIES 3 September 2019 Issue 3
COMPLETELY BUCKINGHAM SERIES 3 September 2019 Issue 3 Star Buy ..................... 2 BC301FS £50 OFFER £40 09/01/07 Beatles. Signed Series 3 Checklist ..... 3 Allan Williams. Series 3 ...................... 5 Buying List ............... 18 Last Chance .......... 19 BC316 £20 OFFER £15 08/11/07 Lest We Forget doubled postmark. BC306B £45 23/04/07 Celebrating England - St George’s Day. Signed Geraldine McEwan, star of Miss Marple. BC321C £35 OFFER £25 13/03/08 Flown. Classic. BC326DS £29.95 17/07/08 Air Displays - Red Arrows & Concorde. Signed Test Pilot Peter Baker. BC331MS £35 OFFER £25 04/11/08 Christmas Pantomime. Signed Su Pollard. BC345S2 £75 08/10/09 Eminent Britons - Sir Arthur Conan Doyle. Signed by David Burke & Edward Hardwicke, both played Dr. Watson. Call us on 01303 278137 www.buckinghamcovers.com Dear Collector, Each series seems to be become longer, with an outstanding choice of variations for most issues. During the summer holidays I took my youngest to London for a few days. We thoroughly enjoyed being tourists and taking in all the sights. My trip helped me decide on this Star Buy, see below for details. Happy Browsing & Best Wishes Vickie Star Buy BC324MS £30 OFFER £20 St Paul’s Cathedral. Signed by the Dean of St Paul’s. Did you know? St Paul’s Cathedral is one of the largest churches in the world and is located in the City of London on Ludgate Hill, the City’s highest point. It was designed by Sir Christopher Wren as an important part of a huge rebuilding plan after the Great Fire of London in 1666. -
Af School Information.Doc
I want all children in the East End, regardless of any financial, physical or learning difficulties, to have access to professional training normally only available to more affluent families. To keep young people away from gun and knife crime in the East End we must develop life skills and encourage dreams and aspirations. Anna Fiorentini The not for profit Anna Fiorentini Theatre & Film School opened in 2001 as a Prince’s Trust Business. Since then it has won three Business of London awards, a social Investor award and a Highly Commended Diversity in Business. Unique to the East End of London, the school has proved a great success, attracting children from many diverse cultural backgrounds and is fast becoming one of the most talked about ventures in London. With its dedication to providing the kind of first class education normally only found in more affluent areas and its all inclusive policy, the school has attracted the attention of the media and celebrities alike: "I am so pleased I am not starting again in showbiz! The talent I saw from this school was superb." Barbara Windsor "Anna, thank you for all your hard work in getting me funding for a place at your school.....Thank you too for getting me the audition for EastEnders and for believing in me." Belinda Owusu (Libby Fox, EastEnders) Three years ago in partnership with Equator Media, Anna Fiorentini set up City Academy, aimed at City Professionals who wish to use the performing arts as a creative outlet; a percentage of profits from this sister school go towards bursaries for children at the AF school. -
Nicole Northridge Production Designer
Nicole Northridge Production Designer Agents Madeleine Pudney Assistant 020 3214 0999 Eliza McWilliams [email protected] 020 3214 0999 Credits In Development Production Company Notes PEAKY BLINDERS (Series 6) Caryn Mandabach Productions / Netflix 2020 Television Production Company Notes PEAKY BLINDERS (series Caryn Mandabach Dir: Anthony Byrne 5) Productions / Netflix Prod: David Mason 2018 Production Designer JAMESTOWN II Carnival Productions Dirs: Paul Wilmshurst, David Evans Prod: Sue de Beauvoir Production Designer HUMANS II Kudos Dir: Lewis Arnold Prod. Paul Gilbert Production Designer United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes INDIAN SUMMERS II New Pictures Dir: John Alexander, Jonathan Teplitzky, 1930'S DRAMA Paul Wilmshurst Prod: Charlie Pattinson, Paul Rutman, Dan Winch Featuring: Julie Walters and Rachel Griffiths Filmed in Malaysia Production Designer THE DELIVERY MAN Monicker Pictures Dir: Victoria Pile Prod: Victoria Pile, Charlie Leech Featuring: Faye Ripley and Darren Boyd Supervising Art Director Designer: Jonathan Green MAPP & LUCIA Grafton House Dir: Diarmuid Lawrence Productions Prod: Lisa Osborne, Susie Liggat Featuring: Steve Pemberton, Mark Gatiss, Anna Chancellor and Miranda Richardson Art Director Designer: James Lewis HOLBY CITY BBC Dir: Various Inc: Bob Bierman, James Larkin Prod: Sharon Bloom, Peter Bullock Featuring: Laila Rouass, Stella Gonet, Patsy Kensit BIRDSONG Working Title Television -
Jack the Ripper in Film and Culture
Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith General Editor: Clive Bloom Crime Files Series Editor Clive Bloom Emeritus Professor of English and American Studies Middlesex University London Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/[14927] Clare Smith Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith University of Wales: Trinity St. David United Kingdom Crime Files ISBN 978-1-137-59998-8 ISBN 978-1-137-59999-5 (eBook) DOI 10.1057/978-1-137-59999-5 Library of Congress Control Number: 2016938047 © The Editor(s) (if applicable) and The Author(s) 2016 The author has/have asserted their right to be identifi ed as the author of this work in accor- dance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. -
Carry on Cabby, Gender, and the Local Industrial Power Nexus
Carry on Cabby, Gender, and the Local Industrial Power Nexus Kieron O’Hara More than 900 years have passed since the Norman Conquest, and it is sobering to think that so many centuries of English history, that the slow, beneficent growth of a society so traditional and stable, that the legacy of Shakespeare, Jonson, Dryden and the like-should have issued at last with “Carry On Camping,” which opened yesterday at neighborhood theaters.’ For no man Laughs at old jests ....’ 1. Introduction The Curry On films have for a long time held an important place in British popular culture, although a place not acknowledged in the litera- ture on popular culture as often ‘as one might think. A series of comedy films played by a large ensemble of comedy actors, with little or no claim to art, whose humor would fairly be described as basic, the Curry Ons have a felt Englishness3 about them, often described as analogous to fish and chips, or saucy seaside postcards. They have not endeared them- selves to critics or intellectuals: feminists and the right deplore their near-obsession with the breasts and bottoms of a series of buxom actresses (chiefly Barbara Windsor); the left detect reactionary views: particularly of working relationships, perhaps most in evidence in Kenneth Cope’s doctrinaire and obstructive shop steward in Curry On At Your Convenience. Even where the influence of the Curry Ons is acknowledged without prejudice, it is not generally the case that that influence can be seen as a good one. For example, Peter Hutchings rightly notes the importance of the Curry On tradition for Hitchcock’s Fren~y;~however, no-one would claim that Frenzy was the most politi- cally correct of Hitch’s pictures. -
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Feature CARRY ON SCREENING Bond seduced his beauties here, Barbara Windsor lost her bikini – and Keira Knightley got drenched. David James Smith roams the backlots of Pinewood Studios WATER BABY: Keira Knightley gets immersed in her work xx during the fi lming of Atonement 27 stm29026.indd26 2-3 The Sunday Times Magazine June 29, 2008 June 29, 2008 The Sunday Times Magazine 2719/6/08 17:28:01 Investigation Wanted posters Neighbours were asked if they had seen a foreign show both male and woman; they hadn’t. The police went through the female Ichihashis neighbouring apartment onto the balcony over- looking Ichihashi’s home. It was dark, but they were right next to Ichihashi’s balcony. He had ere nothing is ever quite her, don’t speak to them. This is my community, dragged his bath out onto it and Lindsay was what it seems to be. It should come as no surprise she said, they all know I’m the English teacher, I dead inside it with her hand sticking out, but Hthat the hand-carved solid oak entrance to the have to speak to them. When you’re on the train, the police did not see her. The police could see main building of Pinewood fi lm studios is just read a book, Bill told her. Don’t freak, Dad, there was somebody inside the apartment but, actually an extravagantly grand Elizabethan she said, it’s just crazy Japan. She was always say- their notes said, they could not go in because they fi replace, imported seven decades ago from a ing that.